Hailing from Norway, Via Doloris operate on the most introspective and oppressive fringes of black metal, embracing a slow, ritualistic, and deeply atmospheric approach.
At the centre of this vision stands Gildas, the project’s French vocalist and main creative force, whose vocal delivery and lyrical writing evoke an existential, austere, and emotionally devastating form of black metal. This identity takes on even greater weight on the debut album Guerre et Paix, set for release on March 20, via Season of Mist.
Further reinforcing this impact is the participation of Frost, a renowned drummer and a pivotal figure in the history of Norwegian black metal, whose performance brings a powerful, precise, and ritualistic dynamic to the record, elevating Guerre et Paix to a level of authority rarely seen in a debut.
In this interview, we speak with Gildas about the genesis of Via Doloris, the construction of this singular sonic identity, and the creative process behind the album.
M.I. - Hello Gildas, how are you doing? I’ve been listening to the new album and it’s absolutely fantastic. Thank you for creating such powerful music. You’ve shown two radically different musical languages in your career: black metal on one hand, and jazz on the other. How does one person channel such different artistic identities?
That’s a good question, because I don’t really know myself. No one is one-sided… we all have several aspects to who we are. You could say it’s a bit like Dr. Jekyll and Mr. Hyde, but it’s more than that. I also have strong interests in other styles: classical guitar, electronica…
As an active musician, though, metal and jazz have been at the centre. I need balance and variation because I get bored quite easily. If I only do one thing, it usually doesn’t go well. That said, my heart is definitely with extreme metal. Black metal is what I grew up with and the style I feel closest to.
M.I. - Via Doloris translates to “the way of suffering.” At what point did this idea become more than a metaphor and turn into a musical necessity?
Actually, things happened the other way around. It started with the music: the guitar, the melodies, the arrangements. Then came the lyrics and the concept. Only after everything was done did the name of the project appear.
It’s like a pyramid: the music is the most essential part, then the words, and finally the name. All the music, the texts, the vocal approach… everything was finished before I chose the name Via Doloris.
M.I. - You’ve described this project as a space to give shape to what cannot be spoken. Do you feel music can access truths that language can’t?
Definitely. That’s what music does. Other art forms tell you something very clearly: painting shows you something you can see, literature guides your imagination. Music doesn’t tell you anything specific. You create your own emotional world from it. The same music can mean something very specific to one person and something completely different to another. Via Doloris helped me express things that are still hard to put into words today.
M.I. - The album title Guerre et Paix (War and Peace) suggests a strong conceptual duality. What is the main idea behind it?
It’s a collection of feelings and atmospheres that went into music first. Then I chose texts that fit each song. After that, I tried to find the common denominator and that became an allegory of life itself. The way of suffering, pain from inside and outside. On this album, War and Peace is mostly about what happens inside us. But it’s open… some people might read the lyrics as reflections on the outside world. Even for me, it’s broad. Ultimately, it’s about the tension and challenges of life.
M.I. - There’s a strong tension between darkness and beauty in your music. Are these opposing forces, or two sides of the same truth?
I think they can live together in the same song, even in the same riff. I like strong contrasts. The title Guerre et Paix is the ultimate contrast. There’s a lot of light in the album, a reach toward something greater. It’s not just destructive, it’s also constructive. That balance made sense to me.
M.I. - Melody is a driving force in Via Doloris. Why was it important for you to reclaim melody in extreme music?
Thank you, I’m really glad you feel that way. People enjoy music differently. Some focus on lyrics, some on rhythm, some on sound and atmosphere. For me, melody comes first. All my favorite music is about melody, whether it’s simple or complex. So it’s very natural for me to write music with a strong melodic identity.
M.I. - Do you see genres as boundaries, tools, or simply starting points?
When I started Via Doloris, I was very into fast, aggressive black metal. That’s how it began. But things evolved quickly. I wanted to express things more subtly, more balanced.
The opening track Communion reflects the early stage: fast and angry. After that, the music opens up. I’m not even sure it’s black metal anymore, and I don’t really care. The instruments and sound make it black metal, but if you analyze the riffs, there isn’t really a traditional metal riff there. Who knows where it will go next?
M.I. - You use French, English, and Norwegian lyrics. How does each language unlock different emotions for you?
French is the most natural language for me, it allows for the most subtle texts. English works very well for catchy songs like Communion and For the Glory. The last song, Visdommens Vei, had to be in Norwegian because of its traditional elements and the nakedness of the language. Norwegian uses few words, short sentences. That fit the music perfectly.
M.I. - Oslo has a deep connection to extreme music. Has living there shaped your relationship with darkness, discipline and sound?
It probably has, but I can’t say exactly how. Living in a foreign country for so long changes you. The climate has something special. That said, I’ve always been disciplined, and I don’t really socialize around music scenes. Even as a full-time musician, that’s not how I choose my friends.
M.I. - Stepping away from Satyricon… did that help you rediscover yourself as an artist?
In many ways, yes. Joining Satyricon was never part of a long-term plan, it just happened quickly after my studies. For years, I focused on guitar playing itself. Toward the end of the 2010s, that changed. I became more interested in making music rather than just playing guitar. That shift led directly to Via Doloris.
M.I. - You invited Frost to perform on the album. What does he bring that can’t be replicated?
He’s probably the best black metal drummer out there. He brings sound, attitude, physicality, and intensity: the whole package.
When I pre-produced the album, I could already hear him playing, even though I wrote the drums myself. I’d played with him for years, so it was natural. He was my first choice, and I was very happy he said yes.
M.I. - Was there any fear he might decline?
No. I was satisfied with the music either way. Of course, it was great that he said yes, but there was no drama.
M.I. - You played all the other instruments yourself, correct?
Yes.
M.I. - The album artwork features the sea. What’s the connection?
Nature is deeply connected to feelings and music for me. I come from Brittany, surrounded by the ocean, and I have an attraction to the sea that I can’t fully explain. The photo has mystery and threat in the foreground, but light and peace in the background. It reflects War and Peace, being close to the abyss, yet still seeing hope.
M.I. - Do you see Via Doloris as a one-album project?
No. I’ve already been working on new material and related ideas. It’s too early to say more, but this is not a one-album project.
M.I. - Was it difficult securing a deal with Season of Mist?
It wasn’t difficult. I showed the album to Michael quite a while ago and he liked it. Later I presented the visuals, and he said, “Let’s go.” That was it.
M.I. - Do you think your background helped?
It probably helped, and Frost’s presence helped too. I do believe the album is sincere and good… that’s what matters most to me. Black metal has changed a lot, especially for younger generations, but good music is still good music.
M.I. - Any plans to perform live?
I’m looking into it right now. This kind of album needs to be followed by concerts, so I’ll have to decide soon.
M.I. - We hope to see you live in Portugal someday. Finally, do you have a message for our readers? Thank you so much for your time.
I invite everyone to really connect deeply with the music. Don’t treat it as just another extreme metal album. There’s a lot of emotional honesty in it, and I think it can touch people in a different way… somewhere between intensity and vulnerability. Thank you for your interest. Bye.
For Portuguese version, click here
Listen to Via Doloris, on Bandcamp
Questions by Sónia Fonseca
